The slogan used to advertise Ridley Scott’s science fiction film “Alien” is nothing more than a statement of fact: In space, no one can hear you scream. But isn’t the idea of sound everywhere in space, which is permeated to the last corner by cosmic background radiation, like an echo of the Big Bang?

Speakers: Sarj Lynch, Sasha Perera. Editing and production: Julia Vorkefeld. Recordings: Matthias Hartenberger. Concept and script: Arno Raffeiner.

With quotes from works by Isaac Asimov, Jimmy Carter, Samuel R. Delany, Donna Haraway, N.K. Jemisin, Ursula K. Le Guin, Stanisław Lem, Sun Ra, Arkadi and Boris Strugazki.

Music:

Elysia Crampton – Morning Star-Red Glare-Sequoia Bridge;

Hama – Terroir;

Ornette Coleman – Science Fiction;

Debit – 3rd Night;

Bebe and Louis Barron – Ancient Krell Music (Forbidden Planet;);

Muhal Richard Abrams – Conversations With The Three Of Me;

HHY & The Macumbas – Gysin Version (feat. Adrian Sherwood);

Chuck Berry – Johnny B. Goode;

Mahi Musicians of Benin – Cengunmé;

Sun Ra & His Arkestra – Space is the Place

„Ich bitte euch, heute Nacht nicht zu schlafen.“ Nachdem die erste Staffel von Ilse Aichingers titelgebenden Essay Schlechte Wörter und ihrer widerständigen Poetik ausging, führt Etel Adnans Bei Nacht leben in die Dunkelheit. Zwischen dem revolutionären Potential des Wachbleibens und den umhüllenden Qualitäten der Nacht, verhandelt die zweite Staffel Sprache als Mittel des Schweigens und die Nacht als einen Ort der lebenden Toten.

Ausgehend von verschiedenen Texten, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht ein begehbarer, vielstimmiger Raum mit wechselnden Gästen. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Schlechte Wörter #6 mit Beiträgen von Marica Bodrožić, Athena Farrokhzad, Lama El Khatib, Enis Maci, Tanasgol Sabbagh and Haytham El Wardany

www.hkw.de/schlechtewoerter

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“I am inviting you to not sleep tonight.” After the first season took Ilse Aichinger’s titular essay Bad Words and its resistant poetics as its point of departure, Etel Adnan’s Night takes us into the darkness. Between the revolutionary potential of staying awake and the shrouding qualities of night, the second season negotiates language as a means of silence and the night as a place of the living dead.

Based on various works, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From talks, readings, voice messages, field recordings and music, a walk-in space of multiple voices is created with changing guests. The agreement is: We start from one written work so that another can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. Bad Words #6 with contributions by Marica Bodrožić, Athena Farrokhzad, Lama El Khatib, Enis Maci, Tanasgol Sabbagh, Haytham El Wardany

www.hkw.de/badwords

Club culture is a global phenomenon, but usually only a few centers are in the focus of general perceptions. What challenges do protagonists face away from the big cities? What conditions shape dance floors and their social contexts there? In “Shaping Dance Floors, Locally,” organizers and club activists from small German towns talk about how they create space for dance and dialogue in their specific contexts and thus continue to work on the large, common project of a politics of dance floors.

With Sedef Adasi, Gîn Bali, Ra-min, Ulrike Schell

Commentary: Sarj Lynch, production and editing: Julia Vorkefeld, interviews and script: Arno Raffeiner

In collaboration with Refuge Worldwide

Curated by Transmission (Sarah Farina and Kerstin Meißner)

Music:

Little Dragon – Hold On (Sarah Farina Remix),

Nas – The Don,

Octo Octa – Deep Connections,

Hird feat. Yukimi Nagano – Keep You Kimi,

Amy Winehouse – In My Bed (Bugz in the Attic Vocal Mix),

Sedef Adasi – Gel Gidelim,

Naty Seres – Sometimes I Feel,

AG Geige – Maximale Gier (Credit 00 Remake),

Zombie Nation – Kernkraft 400.

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Rajkamal Kahlon in conversation with Ana Teixeira Pinto

More information:

www.hkw.de/whoseuniversal

www.hkw.de/en/thewhitewest

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

In her 1982 film “Reassemblage,” Trinh T. Minh-ha influentially reformulated the terms of the ethnographic encounter: she would not “speak about,” but “speak nearby.” In this conversation with artist-filmmaker Laura Huertas Millán, the two discuss this concept and others pertaining to both their practices.

More about the exhibition:

www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

The Mississippi River traverses the United States for 2,350 miles from Lake Itasca in Minnesota to the Gulf of Mexico as a route of migration, trade, exploitation, and cultural exchange. The musicians Swamp Dogg, Donald Harrison, Leyla McCalla and Logan Schutts explain how influences from West Africa and the Caribbean find new forms in places like Congo Square in New Orleans and how important rhythm and dance were and still are on the sorrow-stricken banks of the river.

Commentary: Sarj Lynch, production and editing: Julia Vorkefeld, interviews and script: Arno Raffeiner.

Music:

Donald Harrison – Hu-ta-Nay,

Leyla McCalla – Fort Dimanche,

Kumasi – Runoff,

Skip James – Hard Time Killin' Floor Blues,

Swamp Dogg – The World Beyond,

Kumasi – Slough City,

Leyla McCalla – Artibonite,

Donald Harrison – Dat's Jazz,

Allen Toussaint – Bright Mississippi.

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

How can film serve as a catalyst of social change? Film scholar Lakshmi Padmanabhan speaks with Deepa Dhanraj, focusing on Dhanraj’s participation in the Yugantar Collective and her 1991 film Something Like a War, which examines India’s family planning program and calls for reproductive justice.

More about the exhibition:

www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

Alluvial soil and sediments of large parts of the USA are deposited on the southern banks of the Mississippi. In the opposite direction, from the mouth of the river and its delta, cultural riches were brought north and from there to the entire world: the globally understood languages of blues, jazz, rock ‘n’ roll and soul. The musicians Swamp Dogg, Donald Harrison, Leyla McCalla and Logan Schutts talk about their relationship to the waters and sounds along the Mississippi.

Commentary: Sarj Lynch, production and editing: Julia Vorkefeld, interviews and script: Arno Raffeiner.

Music:

Mattie Dellaney – Tallahatchie River Blues,

Donald Harrison – Congo Square Movement I,

Twins Seven Seven – Oshun (Pt. 2),

Leyla McCalla – Changing Tide,

Sidney Bechet – Maple Leaf Rag,

Porgy Jones – The Dapp,

Bessie Smith – St. Louis Blues,

Swamp Dogg – The White Man Made Me Do It.

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

Sexually explicit imagery has long been a feminist battleground. Film scholar Marc Siegel talks with two filmmakers, Angelika Levi and Claudia Schillinger, who made works in West Germany in the late 1980s committed to picturing female pleasure and fantasy.

More about the exhibition:

www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

In the 1980s and 1990s in Lima, white middle-class women made nonfiction films and videos with and about marginalized people, many of them Indigenous, who were living in slums around the city. This podcast looks back at this moment, diagnosing the questions of power, representation and positionality raised by this body of work.

Isabel Seguí with Lorena Best, Mauricio Godoy, Sara Guerrero & Patricia Oliart

More about the exhibition:

www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films